WERNER HERZOG Umfrage und Diskussion

[Lope de Aguirre]

Gleich drei neue Herzog-Projekte: "The Piano Tuner", "Bad Lieutenant" und "Ma Son, My Son".

Hier der Bericht zu "The Piano Tuner":
Werner Herzog set for 'Piano Tuner'

Oha, da hat der Werner sich aber was vorgenommen.

"Bad Lieutenant" ist ein Hardcore Drama von Abel Ferrara, in dem der sowieso schon sensationelle Harvey Keitel die bislang beste Leistung seines Schauspieler-Lebens abgeliefert hat. Ein düsterer Film, getragen von Trieben und Hoffnungslosigkeit. Abgründig. Einfach großartig!

Von einem so guten Film braucht es schlicht und ergreifend kein Remake. Besser kann es nicht werden. Aber mir soll's egal sein, ich muss ihn mir ja nicht ansehen. Mir bleibt das geniale Original, das jeder Film-Fan gesehen haben sollte!

Und Nicolas Cage soll die Rolle von Keitel übernehmen? Das nenne ich mal eine mutige Besetzung!

Nicolas Cage is The Bad Lieutenant - ComingSoon.net

Werner Herzog's BAD LIEUTENANT remake? Double-You Tee Eff? -- Ain't It Cool News: The best in movie, TV, DVD, and comic book news.

Herzog and Lynch team for murder drama
Thursday May 15 1:37 AM ET

Directors Werner Herzog and David Lynch are teaming for "My Son, My Son," a horror-tinged murder drama based on a true story.

Herzog and his longtime assistant director Herbert Golder co-wrote "Son," loosely based on the true story of a San Diego man who acts out a Sophocles play in his mind and kills his mother with a sword.

The low-budget feature will flash back and forth from the murder scene to the disturbed man's story. A guerrilla-style digital video shoot on location is tentatively set for March. Lynch is executive producing the project.

ADVERTISEMENT
Herzog is having a busy year. He was set to film "Son" in the summer but postponed it to direct Nicolas Cage in a remake of Abel Ferrara's 1992 cop drama "Bad Lieutenant" starting in July. In the fall, he will shoot the Victorian-era drama "The Piano Tuner" for Focus Features.

Reuters/Hollywood Reporter


So, Herzog ist Gott - da besteht wohl kein Zweifel mehr.
Herzog und Harmony Korine war eine unschlagbare Kombo in "Julien Donkey-Boy" und ich bin gespannt auf ihr zweites gemeinsames Projekt "Mister Lonely" und jetzt gibts mit "My Son, My Son" ein Gemeinschaftsprojekt von Herzog und David Lynch?


Trailer zur Herzog Retrospektive des Northwest Film Centers:
YouTube - Herzog Trailer

Herzog über "Ecstatic Truth" und "Rashomon":
YouTube - Werner Herzog on The Ecstatic Truth ...

Herzog über Sprachen
YouTube - Werner Herzog on Languages ...

Herzog über Vegetarismus
YouTube - Werner Herzog on Vegetarianism ...


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EDIT (autom. Beitragszusammenführung) :
Lope de Aguirre schrieb nach 8 Minuten und 13 Sekunden:

Auszug aus einem älteren Interview zu "Grizzly Man"

Why do you like traversing the boundary between reality and fiction by mixing documentary footage with fiction?

I've always postulated, not just in documentaries but in my feature films as well, that reality is a superficial layer and what we should be looking out for is a deep strata of truth. I've always been after what I call an ecstatic truth. It is very strange because this term has caught on and it has spread like wildfire, almost everyone talks about it. The background to all of this is that there is a very real necessity for redefining reality.

Can you think of a moment that is ecstatic truth? Is it like seeing your favourite football team score a goal?

That is more a physical ecstasy, an exhilaration, that you feel and you share it with other spectators. Ecstasy of truth you would find in the practice of mystic monks, for example. Anyway, I don't want to define it. The term 'ecstatic truth' is searching for truth beyond the facts and much deeper than facts; that is something I look out for and 'Grizzly Man' is a very good example of it.

Why did you make yourself such a dominant character in a film about Treadwell?

It was quite important for me to take a very clear attitude, and to see and handle the tragedy of this man from my own perspective. One cannot pretend to be an objective observer when attempting to discover what is Timothy's legacy and put this into a narrative structure. This was a very, very personal movie.

You've made over 50 films, yet you're more popular outside of your homeland. Do you feel appreciated?

I've felt appreciated all the time. Maybe it's because the films I've made do not age. When you look at 'Aguirre: Wrath of God', it is as if I made it yesterday.

You're about to act in Harmony Korine's next film, 'Mr Lonely'. What is the attraction of his films?

Well his films are very, very different from mine. But I think that there is a similar quest from that man. I think that he is looking for a different grammar of images and I'm into that as well.

What would you say is your major strength as a filmmaker?

I think I'm good at titles. You cannot get better than 'Even Dwarfs Started Small'.

Quelle: timeout.com

[Keymaster]

denn einizigen Film denn ich von Werner Herzog kenne ist "Nosferatu - Phantom der Nacht" mit Klaus Kinski. Denn hab ich mir vor ca.2 Jahren angesehen. Ich finde mekrt schon etwas das der Film nicht für ein Breiters Publikum gedreht wurde, da er eben nicht gerade actionlastig ist und er eine eigene art von Horrorelementen enthält die etwas subtiler sind, als die etwas neuren Hollywoodproduktionen die sich ebenfalls mit dem Thema Vampire befassen, Jedoch war der Film auf jeden Fall eine Erfahrung, die ich nicht unbedingt bedauere.

[Lope de Aguirre]

Ausschnitt aus "Little Dieter Needs to Fly":
YouTube - Tuvan Throat Singing Napalm

2 Trailer zu Nosferatu (der zweite ist der spanische Trailer):
YouTube - Nosferatu: Phantom der Nacht - Trailers (1979)

[Lope de Aguirre]

Hochauflösender Trailer zu ENCOUNTERS AT THE END OF THE WORLD
Hochauflösend
Trailer zu Encounters at the End of the World

YouTube ENCOUNTERS AT THE END OF THE WORLD
YouTube - Encounters at the End of the World Trailer HDTV June 2 2008

Nicht der Übertrailer, aber Inhalt, Bilder und Musik lassen bei mir große Freude und Erwartungen aufkeimen.

[Lope de Aguirre]

Mister Lonely (von Harmony Korine mir Werner Herzog) erscheitn jetzt in Groß Britannine und Australien auf DVD:

Amazon.co.uk
Amazon.co.uk: Mister Lonely: Samantha Morton, Diego Luna, Denis Lavant, Werner Herzog, Harmony Korine: DVD

ezyDVD.com.au
Mister Lonely @ EzyDVD

[truemmer]

Ein remake von Bad Lieutenant ??
Wozu um alles in der Welt soll das denn gut sein?
Dieser Film ist weder zu toppen noch habe ich eine Ahnung wie man dem Film neue Aspekte hinzufügen könnte.

Und Nicholas Cage scheint seinen schauspielerischen Zenit längst überschritten zu haben.

Ich befürchte einen unfreiwillig komischen Film, wenn Herzog er die berüchtigte "Wagentür" Szene mit Cage nachstellt. Sowas bekommt niemand ein zweites Mal hin, auch nicht Werner Herzog.

[Lope de Aguirre]

Werner Herzog bei Conan O'Brien
Crabbie's Hollywood

Ein remake von Bad Lieutenant ??
Wozu um alles in der Welt soll das denn gut sein?
Dieser Film ist weder zu toppen noch habe ich eine Ahnung wie man dem Film neue Aspekte hinzufügen könnte.

Und Nicholas Cage scheint seinen schauspielerischen Zenit längst überschritten zu haben.

Ich befürchte einen unfreiwillig komischen Film, wenn Herzog er die berüchtigte "Wagentür" Szene mit Cage nachstellt. Sowas bekommt niemand ein zweites Mal hin, auch nicht Werner Herzog.

Herzog vs. Ferrara
Defiant Werner Herzog to Defamer: 'Who is Abel Ferrara?'

Bad Lieutenant ist kein Remake:
Exclusive: The Bad Lieutenant is NOT a Remake! - ComingSoon.net

[Lope de Aguirre]

Zitate ÜBER Herzog:

Even with a film based on fiction, Werner is first and foremost a documentary filmmaker. First he creates the event, then he films it. The aesthetic of the singular cannot be attained with tricks.

The man has remained a stranger to me. He has burned images in my brain that will never leave me, at least not in this life. He made it possible for me to experience beauty that goes far beyond the exotic lure of wilderness, awakening a longing for incomprehensible vastness and the dark secret of the rainforest’s depths. For this I thank Werner Herzog.

Whenever I ran into him, I was happy, felt uplifted, turned on; he was a giant in whose shadow and light one would gladly have accompanied him a while, if one hadn’t been a centipede.

Zitate VON Herzog:

May I propose a Herzog dictum? those who read own the world, and those who watch television lose it.

I have never been one of those who cares about happiness. Happiness is a strange notion. I am just not made for it. It has never been a goal of mine; I do not think in those terms.

To me, adventure is a concept that applies only to those men and women of earlier historical times, like the mediaeval knights who travelled into the unknown. The concept has degenerated constantly since then... I absolutely loathe adventurers, and I particularly hate this old pseudo-adventurism where the mountain climb becomes about confronting the extremes of humanity.

We ought to be grateful that the universe out there knows no smile

I am someone who takes everything very literally. I simply do not understand irony, a defect I have had ever since I was able to think independently.

The birds are in misery, I don't think they sing. They just screech in pain.

If you truly love film, I think the healthiest thing to do is not read books on the subject. I prefer the glossy film magazines with their big colour photos and gossip columns, or the National Enquirer. Such vulgarity is healthy and safe.

It is my firm belief, and I say this as a dictum, that all these tools now at our disposal, these things part of of this explosive evolution of means of communication, mean we are now heading for an era of solitude. Along with this rapid growth of forms of communication at our disposal— be it fax, phone, email, internet or whatever— human solitude will increase in direct proportion.

You can fight a rumour only with an even wilder rumour.

We comprehend... that nuclear power is a real danger for mankind, that over-crowding of the planet is the greatest danger of all. We have understood that the destruction of the environment is another enormous danger. But I truly believe that the lack of adequate imagery is a danger of the same magnitude. It is as serious a defect as being without memory. What have we done to our images? What have we done to our embarrassed landscapes? I have said this before and will repeat it again as long as I am able to talk: if we do not develop adequate images we will die out like dinosaurs.

The volume and depth and intensity of the world is something only those on foot will ever experience,

I personally would rather do the existentially essential things in life on foot. If you live in England and your girlfriend is in Sicily, and it is clear you want to marry her, then you should walk to Sicily to propose. For these things travel by car or aeroplane is not the right thing.

I love nature but against my better judgement.

(on Klaus Kinski) We had dramatic arguments, we were wrestling with each other, and we had, above all that, a blind, profound trust in each other. It was a fate beyond ourselves as persons, which brought us together, forced us together. We knew that and we accepted it.

Stupidity is the devil. Look in the eye of a chicken and you'll know. It's the most horrifying, cannibalistic, and nightmarish creature in this world.

(Expressing anger at the Amazon rainforest for the difficulties involved in filming Fitzcarraldo) It is a place where nature is unfinished yet...a place where God, if he exists, has created in anger...Even the stars up in the sky look a mess.

I see planets that don't exist and landscapes that have only been dreamed.

I invite any sort of myths because I like the stooges and doppelgangers and doubles out there. I feel protected behind all these things. Let them blossom! I do not plant them, I do not throw out the seeds. I advise you to read Herzog on Herzog because there you see a few clarifications.

For such an advanced civilization as ours to be without images that are adequate to it is as serious a defect as being without memory.

(on Klaus Kinski) Often he was a joy, and you know, he was one of the few people I ever learned anything from.

Centuries from now our great-great-great-grandchildren will look back at us with amazement at how we could allow such a precious achievement of human culture as the telling of a story to be shattered into smithereens by commercials, the same amazement we feel today when we look at our ancestors for whom slavery, capital punishment, burning of witches, and the inquisition were acceptable everyday events.

(on Klaus Kinski) People think we had a love-hate relationship. Well, I did not love him, nor did I hate him. We had mutual respect for each other, even as we both planned each other's murder.

(when faced with the jeering and hollering of the 1500 booing patrons who despised his 'Lessons of Darkness' at the Berlin Film Festival) You're all wrong.

Everyday life is only an illusion behind which lies the reality of dreams. . . It is not only my dreams. My belief is that all these dreams are yours as well. And the only distinction between me and you is that I can articulate them. And that is what poetry or painting or literature or film making is all about. It's as simple as that.

(on Klaus Kinski) He wasn’t a madman as some liked to dismiss him. Because he wanted to live, in his life, recklessly and egomaniacally, the most extreme, the most radically human, his nerves were disclosed and vulnerable in his fight against mediocrity, nastiness, ‘the vermin’. Only his excess of sensitiveness let him develop scandals, let him thrash about like a wild animal which finds itself hopelessly surrounded.

(On declining an offer by local Indians to kill Kinski for him, during the making of Fitzcarraldo) I needed Kinski for a few more shots, so I turned them down. I have always regretted that I lost that opportunity.

(on Klaus Kinski) He was a pestilence every day... but who cares? I mean, what remains is the film. ... There has never been a man in cinema who had such a presence, such a ferocious intensity on the screen.

When you travel on foot with this intensity,it is not a matter of covering actual ground, rather it is a question of moving through your own inner landscapes. When I am walking I fall deep into dreams, I float through fantasies and find myself inside unbelieveable stories. I literally walk through whole novels and films and football matches. I do not even look at where I am stepping, but I never lose my direction. When I come out of a big story I find myself twenty-five or thirty kilometres further on. How I got there I do not know.

You will learn more by walking from Canada to Guatamala than you will ever learn in film school.

My films come out of some sort of pain. I must make films to rid myself of them, like ridding myself of a nightmare.

A director is only a liontamer of the wild accidents and coincidences that come along.

...the risks have also been assessed. I am really one of those professional people, who calculate everything very exactly and assess things. Naturally, however, the risks I took were often very high in many respects. That may be my nature though. I really can’t properly say what is behind it, but it is certainly also connected with the nature of film and this work.

Don't do office work. Go where the real world is. Work as a bouncer in a sex club, in a slaughterhose, a s a taxi driver, where there is real life.

I'm not out to win prizes - that's for dogs and horses.

Kinski walked off, packed all his things and was absolutely serious about quitting and leaving at once— he'd already broken his contract 40 or 50 times. I went up to him and said, 'You can't do this.' I told him I had a rifle and that he'd only make it as far as the first bend before he had eight bullets in his head— the ninth one would be for me.

Filmakers of Cinéma Vérité resemble tourists who take pictures amid ancient ruins of facts.

In this century we maybe had two or three of Kinski’s type. There is nobody else, he is a wonder of the world, and this wonder of the world can now be viewed for one more time. Sometime it maybe topples over, sometime it maybe doesn’t work anymore, I do not exactly know, maybe I’m wrong. There is a duty, an extraordinary duty which is inflicted on me, because nobody else does it. I have to be able to accept it because I want to be a good soldier of the cinema.

I'm old-fashioned; I'm a man of celluloid. I think it still has a depth and a precision that you do not have in the digital domain, and the digital domain has some disadvantages. When you shoot something and record it with a digital camera, you have an instant access to it - you don't have to wait for the dailies.

It isn't money that makes films, it's faith.

Strangely enough, I've always believed that my stories were mainstream stories; the films are narrated in a way that you never have a boring moment.

Very often, footage that you have shot develops its own dynamic, it's own life, that is totally unexpected, and moves away from you're original intentions. And you have to acknowledge, yes, there is a child growing and developing and moving in a direction that isn't expected-accept it as it is and let it develop its own life

Someone like Jean-Luc Godard is for me intellectual counterfeit money when compared to a good kung fu film

Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privelege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect

I don't spend sleepless nights over getting very bad reviews.

Film is not analysis, it is the agitation of mind; cinema comes from the country fair and the circus, not from art and academicism.

Everyone who makes films has to be an athlete to a certain degree because cinema does not come from abstract academic thinking; it comes from your knees and thighs.

The kinds of landscape I try to find in my films...exist only in our dreams. For me a true landscape is not just a representation of a desert or a forest. It shows an inner state of mind, literally inner landscapes, and it is the human soul that is visible through the landscapes presented in my films.

I like to direct landscapes just as I like to direct actors and animals.

(while making Fitzcarraldo) If I abandon this project I would be a man without dreams and I don't want to live like that: I live my life or I end my life with this project.

I'm making films for an audience out there and a very tiny fraction of them are would-be filmmakers. But let's speak of them-the would-be filmmakers, the tiny fraction. I've witnessed many times when I've showed films and was present at a screening that exactly those people feel very much encouraged by what I'm doing.

Quelle: the Werner Herzog archive

[Lope de Aguirre]

Imagine... Werner Herzog: Beyond Reason

http://youtube.com/watch?v=uoZwYTvXlcM

http://youtube.com/watch?v=Wwsp9WQKsHU&feature=related

http://youtube.com/watch?v=dV_sfZj3x1U&feature=related

http://youtube.com/watch?v=oBWydrt-iqs&feature=related

http://youtube.com/watch?v=oTeBLLfO1HM&feature=related

http://youtube.com/watch?v=qsmRJ3iCts4&feature=related

http://youtube.com/watch?v=VOASbyeP3Wg&feature=related

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EDIT (autom. Beitragszusammenführung) :
Lope de Aguirre schrieb nach 35 Minuten und 57 Sekunden:

Bis ans Ende... und dann noch weiter. Die ekstatische Welt des Filmemachers Werner Herzog

YouTube - Il mondo contemplativo di Werner Herzog

YouTube - Il mondo contemplativo di Werner Herzog

YouTube - Il mondo contemplativo di Werner Herzog

YouTube - Il mondo contemplativo di Werner Herzog

YouTube - Il mondo contemplativo di Werner Herzog

YouTube - Il mondo contemplativo di Werner Herzog

YouTube - Il mondo contemplativo di Werner Herzog

YouTube - Il mondo contemplativo di Werner Herzog


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EDIT (autom. Beitragszusammenführung) :
Lope de Aguirre schrieb nach 4 Stunden, 2 Minuten und 34 Sekunden:

Harmony Korine's directorial debut is the fall film most likely to disturb and disgust the most people. Here Korine talks to one of his newest fans, fellow moviemaker and rule-breaker Werner Herzog.

Werner Herzog: When I met you for the first time, Harmony, I was stunned because you have a strong physical resemblance to me when I was your age. I had a great problem getting a start in filmmaking because my puberty came late, and until I was sixteen or so, I looked like a very awkward child-although I think it's the hunchbacks who make the movies.Did you have a similar experience?

Harmony Korine: My mind was very fast, but I looked like a little boy until I was sixteen, too. I grew up in Tennessee, but I didn't want to live there, and when I got out of high school I flew to New York City to live with my grandmother. I was taking photos in a park one day when I met Larry Clark [photographer-director]. We started talking about films,and I wrote a screenplay [Kids] for him. I then went to California to meet agents, and met Cary Woods, who became my producer. I was smaller then, and must have seemed childlike. He probably thought I stepped off a school bus or something, because at first he didn't believe it was me.

Werner Herzog: Tell me about your upbringing.

Harmony Korine: If someone asked me what my father did, I wouldn't be able to answer. He would leave for long periods of time, and sometimes my mother would disappear too. It's not that they weren't good; they were just doing something else and I didn't know where they were. But I liked them when I saw them, and when my father came home he'd bring money and presents, so that was nice. I recently asked my dad what his profession was, and he wouldn't tell me. There were other things I didn't know, so I asked my mother to send my birth certificate to me so I could find out my real age and make sure everything was legitimate. I got it a month and a half ago and it said my father's occupation was fur trader, but I've never seen him wear fur or heard him talk about it. Maybe he's embarrassed by it, I don't know. Anyway, my parents let me do whatever I wanted, and I was mostly off on my own.

Werner Herzog: What was the first movie you saw?

Harmony Korine: I think it was Harry and Tonto [1974]. My father told me I flipped out about something that happened to the cat in it. The first movies that really changed my life were yours, Fassbinder's, Godard's, and[Charles Laughton's] The Night of the Hunter [1955]. My father loved the movies. We didn't talk much when he was around, but every day after school, when I guess most kids would go home and do their homework, we'd go to the movies. By the time I was sixteen, I was seeing three or four films a day, including a lot of art films. I saw all your films. My dad rented them for me at first, and then he took me to the theater to see Even Dwarfs Started Small [1968]-which is my favorite movie of all time.It was when I heard the girl screaming in the cave and saw the monkey being crucified in that film that I knew I wanted to make movies.

Werner Herzog: It's obvious to me that you never attended film school.

Harmony Korine: I hate that shit. It's eating the soul of cinema. Filmmaking has become like a process, and it's all garbage. All these rich kids who were going to be doctors now want to be filmmakers, but they have very little life experience and they're just writing really shitty wit for each other. That's perfect for when they go to Hollywood and meet the people who finance films, 'cause those guys are fucked up too. That's why films are the way they are now and why I've largely stopped going to see them in the last two years.

Werner Herzog: I know you've expressed some desire to get away from writing screenplays, but you have always been a writer?

Harmony Korine: I've never wanted to tell other people's stories. I'd read books,and there'd be things in them I could relate to, but it still wasn't my story, so I figured the only way for me to talk about my life and adventures was to write. Writing's a great thing. I even have a novel that's going to come out next April called The Crackup at the Race Riots. I want to do everything: It goes back to [Charles and Ray] Eames[architects, designers, filmmakers] and [Isamu] Noguchi [sculptor]talking about a unified aesthetic. You can make movies, write books, do a ballet, and sing opera, but it's all part of the same vision.

Werner Herzog: I see Gummo as a true science fiction film in the way it shows a scary vision of the future: a loss of soul, a loss of spirituality. And yet you clearly see all that with very tender eyes. I am very interested, too, in how you show the effects of a tornado on people.

Harmony Korine: When I look at the history of film-the early commercial narrativemovies directed by D.W. Griffith, say-and then look at where films are now, I see so little progression in the way they are made and presented,and I'm bored with that. Film can be so much more. With Gummo I wanted to create a new viewing experience with images coming from all directions. To free myself up to do that, I had to create some kind of scenario that would allow me to just show scenes, which is all I care about. I can't stand plots, because I don't feel life has plots. There is no beginning, middle, or end, and it upsets me when things are tied up so perfectly. There had been a tornado in Xenia in 1974, and I decided to set the film there. After the tornado, people found dogs up in trees and playing cards that had been blown through brick walls. I heard about this one guy on a paper route who was sucked up by the twister and dropped off, still on his bicycle, fifty miles away, and the only injury he had was a scratch on his forehead.

Werner Herzog: You use the tornado in your film to shatter the narrative form. All your screenplays-not only Gummo- follow that same lack of pattern. There is no story line, no development of characters. Everybody in Hollywood would immediately ask,"Where's the development? Where's the good guy and the bad guy?" You are obstinate about that.

Harmony Korine: I guess I'm lucky, too, because I've been protected by my producer and my agents so far. They understand that I don't want any kind of relationship with that other world. Early on I said I was going to make a specific kind of film and if I couldn't do that, or if I had to soften my vision, then I would just quit. There's nothing wrong with quitting if you can't do the kind of work you want to do. What's amazing is that I got to make Gummo as a pure vision and that it wasn't touched-especially since I'm young and it's a new aesthetic. In a way,it's a miracle that this movie exists in the current climate.

Werner Herzog: What I like about Gummo are the details that one might not notice at first. There's the scene where the kid in the bathtub drops his chocolate bar into the dirty water and just behind him there's a piece of fried bacon stuck to the wall with Scotch tape. This is the entertainment of the future.

Harmony Korine: It's the greatest entertainment. Seriously, all I want to see is pieces of fried bacon taped on walls, because most films just don't do that.

Werner Herzog: Tell me about creating a sense of dirt in the film. Those people's homes are like garbage dumps.

Harmony Korine: I grew up in Nashville, so I knew the neighborhoods. Certain houses were just the worst people were living like pack rats. In one of the houses, I found a piece of a guy's shoulder in a pillowcase. As far as production design went, it was about taking things away to make it cleaner. At times the crew would refuse to film in those conditions. We had to buy them those white suits like people wear in a nuclear fallout.I got angry with them because I thought they were pussies. I mean, all we're talking about is bugs and a disgusting rotty smell. I couldn't understand why they had no guts. I was like, "Think about what we have access to,"but I guess most of them didn't really give a shit. But Jean Yves [Escoffier], the cinematographer, was fearless. When the others were wearing their toxic outfits, he and I wore Speedos and flip-flops just to piss them off.

Werner Herzog: When one of the kids in the film moves a picture on a wall and all these cockroaches come crawling out, the cameraman doesn't zoom in from a distance; he moves in physically, because he's interested. The first cinematographer I worked with said to me, "Werner, don't use a long lens-just move in. Film knows no mercy."You have to be bold, you have to be curious.

Harmony Korine: I don't know how other directors work, but I wanted to create a kind of ultrachaotic environment where things were just happening, and thenshoot them without thinking about it. The line producers told me thebond company was threatening to take the movie away at one point because I was shooting too much film, but I said, "Leave me alone. The film we're shooting is the movie."Jean Yves said to me late one night: "Fuck these guys! We will fire everyone. It will be me, you, a fucking lightbulb, and the soundman." That was so punk. I was so charged by that; I felt I couldn't lose.

Werner Herzog: He has to be given credit, because in some scenes he was alone,wasn't he?

Harmony Korine: Oh yeah. He got one of the most amazing scenes on the last day of shooting. It's where those guys are arm wrestling in a kitchen. I'd written the scene, but some of the people in it had just gotten out of prison that day, and I could feel that things were going to happen that night that were way beyond what I hoped for or imagined, but I knew they wouldn't happen if I was there watching them. So Jean Yves and I agreed he'd be the only person in the room with them. We rigged a boom onto his camera, and I shut all the doors and turned all the monitors down, so even I didn't know what was going on. I would just run in between takes and get them really excited. I'd tell them to throw the refrigerator out the window or kick the door. It got really violent in there. There were pregnant women in the room, too; it was scary.

Werner Herzog: The moment I like most in that scene is the moment of silence when nobody knows what to do next. That's not something that could be directed.

Harmony Korine: When I saw that in the dailies, it amazed me, because Jean Yves really captured that awkwardness, that sad silence; it was beautiful.Most of the people in that scene were parents of kids in the film, so it worked out well.

Werner Herzog: Can you talk about some of the kids?

Harmony Korine: When I go to the movies, there's usually nothing on the screen that compels me, and with this film I wanted to see people who were amazing looking. I was watching an episode of Sally Jesse Raphael called "My Child Died From Sniffing Paint,"and I saw this kid on it named Nick[Sutton] who's a paint-sniffing survivor. They asked him, "Where are you going to be in a few years?"and he said, "I'll probably be dead."I loved him and wanted him to star in the film, so we tracked him down. He told me he'd been on acid on the show.

Werner Herzog: This is the older of the two boys who go hunting for dead cats. What about the one whose hair gets shampooed by his mom [Linda Manz]?

Harmony Korine: Jacob Reynolds. I'd seen him in a small part in The Road to Wellville [1994], and he was also in a Dunkin' Donuts commercial I liked, so we cast him. He's got an amazing face. Most of the others I'd grown up with or gone to high school with or knew from hanging out.

Werner Herzog: Who do you want the audience for Gummo to be?

Harmony Korine: I never thought about that while I was making it, but I feel it's definitely most important if young people see it, because it's a new kind of film with a new kind of syntax. Younger people have a different kind of sensibility, and I think they'll understand it. But if someone said that I was the voice of my generation, I couldn't agree with that.I'm just the voice of Harmony.

Quelle: http://thewernerhrzogarchive.blogspo...ch/label/Gummo

[Lope de Aguirre]

Noch ein Zitat:

Er war kein Schauspieler. Er hasste das Wort und er hasste den Beruf,
und doch gab es auf der Leinwand Keinen, von dem eine solche Intensität
und eine solche Präsenz auf uns herunterstrahlte. Seine Besessenheit,
seine Dämonie, warf ein glimmendes Licht in unsere eigene Abgründe,
und wir erkannten uns darin, wir sahen für Momente die dunkelste Seite
unserer Existenz.

[Lope de Aguirre]

On the Ecstasy of Ski-Flying: Werner Herzog in Conversation with Karen Beckman
Amazon.com: On the Ecstasy of Ski-Flying: Werner Herzog in Conversation with Karen Beckman: Laura Hanna, Aaron Levy, Nicola M. Gentili: Movies & TV



What the hack? What is this and why don't we even know about it.

Habe die DVD nun gesichtet und muss sagen, dass Herzog hier keine neuen Einsichten zu seinem Werk bieten kann und die Filmprofessorin auch nicht die interessantesten Fragen stellt - wobei Herzog eh immer sehr merkwürdig antwortet.

[Lope de Aguirre]

Encounters at the End of the World

Herzog war also jetzt auch in der Antarktis um mit dem letzten von ihm noch unbefilmten Kontinent nochmal eine andere Dimension und Qualität von Landschaft auf die Leinwand zu bringen.

Nun, die Bilder, die Möglich waren können nicht schlecht gewesen sein, allein was man in diesem interviewlastigen Film an Landschaftsaufnahmen sieht ist beeindruckend.
Nur leider, leider nimmt sich Herzog keine Zeit für diese Bilder, er untermalt sie auch nur zwei mal mit sphärischer Musik und dann ebenfalls nicht lang genug.
Herzogs thematische Markenzeichen sind alle vorhaden, leider kommen sie optisch, musikalisch und atmosphärisch nicht zur Geltung.

Sicherlich keine schlechte Herzog-Doku, aber mir wurde dieser Film als Nachfolger von "Fata Morgana" und "The Wild Blue Yonder" verkauft und ich hörte von manchen die ihn gesehen hatten von der Untergangsstimmung (die bei Herzog ja auch z.B. in "Auch Zwege haben klein angefangen", "Herz aus Glas" und "Nosferatu" mit geringen mitteln superb erreicht wurde).
Leider beschränkt sich das auf pessimistische Aussagen der interviewten Wissenschaftler und wird nie dokumentarisch festgehalten oder inszeniert.

Nochmal ein Versuch, sicherlich keine schlechte (Herzog-)Doku, jedoch erwartet ich etwas spielfilmartiges, eine Sci-Fi-Doku wie "Lektionen in Finsternis" und als solche enttäuscht der Film auf ganzer Linie.

Bleibt dem Werner H. wohl nur noch ne Reise zum Mittelpunkt der Erde um neue Landschaften für seine Filme zu erschliessen und mit "Encounters" hat er eine (seiner/)der interessantesten Landschaften vergeudet.

Hoffentlich macht er noch einen (guten!) Spielfilm dort.

3/10



Mister Lonely

8 Jahre zwischen "Julien Donkey-Boy" und "Mister Lonely" und es ist der zweite Film von insgesamt dreien unter Korines Regie, in dem Werner Herzog mitspielt.

Ich habe pure awesomness erwartet, leider konnte der Film diese Erwartung nicht erfüllen.
OK, eine abgefahrene Idee mit den Star Imoersonators aber warm geworden bin ich weder mit den charakteren noch mir der kunterbunten Optik.
IMO einfach ein optischer Rückschritt gegenüber den rohen "Gummo" und "Julien Donkey-Boy".

Korines ecstatic truth (ich nehm mal Herzogs Bezeichnung um es auszudrücken) funkt nur selten durch - diese Szenen sind allerdings auch die besten.

Die Aussage des Films ist nicht verkehrt oder so ausgetreten, aber alles was bleibt ist ein ambitioniertes Drama, welches weder gut in der Charakterzeichnung, Story oder Dramatik punktet.
Die Kunstfilmeigenschaften halten sich auch in Grenzen, und trotzdem fühlen sich viele Aspekte, die Ungewöhnlichkeit zeigen so gezwungen an.

Auch Herzog kann nicht an seine Performance im letzten Korine-Film anschliessen und wirkt hier eher dilletantisch bis uninteressant.

Ich hoffe mir in Zukunft von beiden (Herzog + Korine) wieder mehr.

4/10

[Aphrael]

Sodala: Habe lange hin und her überlegt zwischen Aguirre und Fitzcarraldo - habe mich dann aber doch für 2eren entschieden.

Ich finde die Geschichte und auch die Umsetzung von Fitzcarraldo einfach genial. Vor allem, seit ich die Dokumentation von Werner Herzog über Kinski gesehen habe. Dort hats ja geheissen, dass die Eingeborenen den Kinski mit Freuden umgebracht hätten, aber Herzog es nicht zulassen wollte. Das gibt diesem Film einfach noch ein bisschen mehr Kick, finde ich.

[truemmer]

Rescue Dawn

Gesehen und für sehr gut befunden
Eigentlich wollte ich nur mal kurz den Anfang schauen, aber dann hat es mich wie ein Sog gepackt und der Tag ist wieder dahin und ich habe von all den Dingen, die ich mir vorgenommen habe, wieder nichts geschafft...

Ach, der Film:
Selten wurde mir eine Gefangenschaftsausbruchsgeschichte so realistisch erzählt. Das wirkte alles total echt. Die Melange aus Hollywoodblockbuster und Werner Herzogs Realismus ist wunderbar aufgegangen.
Schwierigkeiten hatte ich nur mit den bekannten Darstellern, die waren zwar sehr gut, erinnerten mich aber die ganze Zeit daran, doch nur einen Hollywoodfilm zu sehen.
Aber es ging ja um eine typische amerikanische Durchhalte- und Überlebensgeschichte. Da war die Wahl der Darsteller schon konsequent.
Die Musik war mir auch zu konventionell, aber auch hier gilt: Eine amerikanische Geschichte.
Ohne Herzog wäre dieser Film für mich undenkbar gewesen. Sein Naturrealismus und seine persönliche Handschrift heben den Film über vergleichbare Produktionen hoch hinaus.

Und jetzt muss ich unbedingt 'Little Dieter needs to fly' sehen.

[truemmer]

Little Dieter needs to fly...

...hat mir, wie ich es vermutet habe, noch besser gefallen.
Rescue Dawn scheint sich schon relativ eng an Denglers erzählte Geschichte zu halten. Die Gefangenschaftsgräuel waren in echt viel schlimmer, wurden im Film nur angespielt oder weggelassen, was meines Erachtens auch gut so ist.
Das gleiche gilt für die Flucht durch den Dschungel. Während in Rescue Dawn einige echte Blutegel von der Haut gepflückt wurden, was schon recht übel war, waren es in echt wohl teppichartig viele, die mit Bambus abgeschabt wurden.
Wie jemand so eine Geschichte überleben kann ist mir ein völliges Rätsel
Und dann alles für Herzogs Doku im Sinne einer Karthasis nochmals durchzuerleben ist für Dengler bestimmt nicht ungefährlich gewesen. Der Schuss hätte auch nach hinten losgehen können.

Eine dieser Dokumentationen, die mir wahrscheinlich noch sehr lange im Kopf bleiben wird und Spuren hinterlässt. Was Schöneres kann man von einem Film nicht verlangen.
In der Postscriptumsequenz sieht man kurz Denglers Frau und Sohn: Asiaten.
Das hat mich zuerst verblüfft, dann musste ich aber an die Szene aus Rescue Dawn denken, in der Dieter von dem bezaubernden Lächeln einer vietnamesischen Soldatin schwärmte, sein vielleicht einziger weiblicher Kontakt während seines Martyriums.
Und als in der allerletzten Filmszene die F14 Jäger über Dieters Grab flogen stieß mir wirklich das Wasser in die Augen. Normalerweise bekomme ich bei solchen Szenen immer die Krise und denke: So ein verlogen pathetischer Scheiß. Aber hier passte es punktgenau, ein wunderbarer Schluss.


.
EDIT (autom. Beitragszusammenführung) :
truemmer schrieb nach 51 Minuten und 43 Sekunden:

Rescue Dawn: The Truth - Rescue Dawn, Dieter Dengler, Gene DeBruin, Werner Herzog, movie, Steve Zahn, Christian Bale, Lao Prison, rescue, dawn, truth

Hm, "realistisch erzählt" heisst noch lange nicht, dass sich die Geschichte von Rescue Dawn auch so zugetragen hat.
Das wirft für mich zunächst ein unangenehmes Licht auf Rescue Dawn.
Andererseits: Wird der Film dadurch wirklich schlechter?
Hätte er die gleiche Kraft gehabt, wenn Herzog gleich zu Beginn, statt eines simplen 'based on a true story', deutlicher darauf hingewiesen hätte?
Fest steht: Für die anderen Überlebenden und Angehörigen muss es wie ein Schlag ins Gesicht gewesen sein.